framing a LEP without a mount

[Mrs C]

hello forum members, what would you recommend is the best way to frame (or rather mount) an expensive limited edition print without a mount? My client doesn’t like window mounts.

The stock is a very matt high quality art paper, size 650mm x 750mm. Wouldn’t want to photo mount it. Is dry mounting acceptable – though risky? I obviously don’t want to place the glass directly on top of the print. How then do I hold it in place safely and effectively?

I am going frame it using a very wide reverse moulding which I will be hand painting with a slip frame.

Advice welcome.

[Framie]

Hi,

Double window mount or slip is the only way to frame the expensive limited edition print.

Have to tell your client why and convince them to have it mounted properly.
Any sort of floatmounting and it is very likely going to ripple and go wavy and client is not going to be happy.

[Graysalchemy]

Yes dry mounting is a big no no. If the client wants to go down that route then get them to sign a disclaimer against any damage sustain during the process and a disclaimer stating that it is a non reversible process likely to reduce the value of the print.

A possibility would be to hedgehog mount it and then float that off a sheet of mount board. That would be more acceptable and reversible if you used archival materials.

How does the client envisage it being presented?

[Roboframer]

My policy is that once a point is reached where I have explained the pros of my ideas - both presentation-wise and preservation-wise and the cons of the customer's, I give it (Words to the effect of) "Fine, just tell me what you want and I'll make it happen"

There is small print and there are limits but in this case I'd probably wet mount the thing with wheat starch paste and close frame it with a rebate spacer. A paper conservator could reverse it easily, in fact it wouldn't be much more difficult to reverse a dry mounted thing, they're clever people, why not keep them in a job!

[IFGL]

Never had a problem keeping a foat mounted print flat using pass through hinges or the Hedgehog method as Alistair suggests, the trick is to use enough straps to hold it flat, only one strap should be a anchor the rest should have enough material alow the paper to expand and contract.

[Roboframer]

I would never guarantee to mount paper to stay flat (assuming it started that way, which is rare), float mounted, window mounted .... even DRY mounted (the board could bow!)

I'm guessing, with the hedgehog method mentioned, that a decent space of mount board around the paper is assumed - but I'm assuming the customer (oops, sorry this is a posh framer who has clients, my bad) does not want that, it is to be close framed (?) and the hedgehog method is no good for that.

Close framing and float mounting is possible but it's very tricky to get the edge of the paper under the sight edge of the frame as well as away from the glass ... therefore, in the case of the customer caring far less about his/her property than the framer - give them what they want - if it is within your conscience/Standard Operating Procedures and their choice is a well informed one - maybe backed up in writing.

.

[IFGL]

I have no problem doing that either John, but definitely get a signed disclaimer, I have framed Ltd editions worth 10k +
We have customers and clients depending on which hat I have on

[Graysalchemy]

As I said I would also offer to dry mount but only if the customer was adamant that is what he/she wanted, that they knew the risks and they were prepared to sign a disclaimer.

I have no hesitation in dry mounting a LEP if it on the behalf of a publisher or self publishing artist as they can easily print another but only if that is what they want.

[prospero]

It's nice to float paper that has a nice deckled edge, but unless there is a sound reason for doing this then best to stick to a window mount IMHO.

Prints that have been taken from a engraved/etched/whatever plate will always rebel against staying dead flat because the centre will have been compressed and have different properties to the part outside the plate mark. But in these cases a slight undulation is part of the nature of the thing and can actually look good. Lifting the paper by hinging it to a thick backing will give a true floating effect and minimise the effect of any waves.

On a print with perfect neat cut edges, why bother?

[Mrs C]

Thanks very much all of you for your considered responses. As the general consensus is that a window mount is the best route, I’m pretty sure my client/customer could be persuaded that is the best way to go. I didn’t persist at the time as I wanted to give some thought to how else I might be able to do it, but having done that – verified by all your advice – I’ll go back to her.

Incidentally, I have never used the hedgehog method of mounting. Quick explanation anyone? Or shall I just Google it?

[StevenG]

Hi Mrs C

Hopefully you'll find an attachment to this post

Cheers
Steven

[Jamesnkr]

It may very well be "expensive" but is it *worth* anything...

You could always use acrylic rather than glass and frame it straight against that.

That said, I sold a 1960s linocut the other week. On taking it out of the frame to post it overseas it turned out to be stuck to nasty acidic board. It had also been framed up against the glass. Despite both these features, and having been framed thus for almost sixty years, the face of the print was in perfect condition. (It took my conservator SIXTEEN hours to take it off the board.)

[Roboframer]

The same thing could have been subjected to different conditions over those 60 years and faded to buggery - there's too many permutations regards paint/ink/paper quality and history, to say that good/bad framing procedures/materials would/would not have made any difference.

Many ltd editions from most that live inside the world of the FATG and the NEC fairs are stupidly overpriced and prey on ignorance.

.

[Jamesnkr]

I'd have expected nasty foxing marks, actually, rather than fading. But yes, it had been very lucky indeed...